LEADER 06749nam 22008415 450 001 9910825955803321 005 20230504003957.0 010 $a1-283-27727-1 010 $a9786613277275 010 $a0-520-94743-6 024 7 $a10.1525/9780520947436 035 $a(CKB)2670000000069767 035 $a(EBL)646810 035 $a(OCoLC)701704296 035 $a(DE-B1597)519048 035 $a(OCoLC)707080602 035 $a(DE-B1597)9780520947436 035 $a(MiAaPQ)EBC646810 035 $a(EXLCZ)992670000000069767 100 $a20200424h20112011 fg 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aCelluloid Symphonies $eTexts and Contexts in Film Music History /$fJulie Hubbert 210 1$aBerkeley, CA :$cUniversity of California Press,$d[2011] 210 4$dİ2011 215 $a1 online resource (525 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-24101-0 327 $tCelluloid Symphonies --$tFront matter --$tContents --$tPreface --$tAcknowledgments --$tPart One. Playing the Pictures: Music and the Silent Film (1895-1925) --$tIntroduction --$t1. Plain Talk to Theater Managers and Operators. Seating/Music (1909) --$t2. Incidental Music for Edison Pictures (1909) --$t3. Jackass Music (1911) --$t4. Selections from What and How to Play for Pictures (1913) --$t5. Music for the Picture (1911) --$t6. The Art of Exhibition: Rothapfel on Motion Picture Music-Its Object and Its Possibilities (1914) --$t7. Selections from Musical Accompaniment of Moving Pictures (1920) --$t8. Selections from Musical Presentation of Motion Pictures (1921) --$t9. Selections from Encyclopaedia of Music for Pictures (1925) --$t10. Two Thematic Music Cue Sheets: The Thief of Bagdad (1924) and Dame Chance (1926) --$t11. Music and Motion Pictures (1926) --$t12. Publishers Win Movie Music Suit (1924) --$tPart Two. All Singing, Dancing, and Talking: Music in the Early Sound Film (1926- 1934) --$tIntroduction --$t13. New Musical Marvels in the Movies (1926) --$t14. Musicians to Fight Sound-Film Devices (1928) --$t15. The Truth about Voice Doubling (1929) --$t16. Westward the Course of Tin-Pan Alley (1929) --$t17. What's Wrong with Musical Pictures? (1930) --$t18. Present Day Musical Films and How They Are Made Possible (1931) --$t19. Alfred Hitchcock on Music in Films (1934) --$tPart Three. Carpet, Wallpaper, and Earmuffs: The Hollywood Score (1935-1959) --$tIntroduction --$t20. Composers in Movieland (1935) --$t21. The Aesthetics of the Sound Film (1935) --$t22. Scoring the Film (1937) --$t23. Some Experiences in Film Music (1940) --$t24. What Is a Filmusical? (1937) --$t25. Music in the Films (1941) --$t26. Music or Sound Effects? (1947) --$t27. The New Musical Resources (1947) --$t28. Movie Music Goes on Record (1952) --$t29. The Man with the Golden Arm (1956) --$t30. Forbidden Planet (1956) --$t31. Interview with Stanley Donen (1977) --$t32. One Thing's for Sure, R 'n' R Is Boffo B.O. (1958) --$tPart Four. The Recession Soundtrack: From Albums to Auteurs, Songs to Serialism (1960-1977) --$tIntroduction --$t33. Film Themes Link Movie, Disk Trades (1960) --$t34. Mancini Debunks Album Values (1961) --$t35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964) --$t36. The New Sound on the Soundtracks (1967) --$t37. Movies: Tuning In to the Sound of New Music (1968) --$t38. Towards an Interior Music (1997) --$t39. Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969) --$t40. BBC Interview with Jerry Goldsmith (1969) --$t41. The Jazz Composers in Hollywood: A Symposium with Benny Carter, Quincy Jones, Henry Mancini, Lalo Schifrin, and Pat Williams (1972) --$t42. George Lucas: Stinky Kid Hits the Bigtime (1974) --$t43. The Annotated Friedkin (1974) --$t44. What ever Became of Movie Music? (1974) --$tPart Five. The Postmodern Soundtrack: Film Music in the Video and Digital Age (1978-Present) --$tIntroduction --$t45. Selling a Hit Soundtrack (1979) --$t46. Interview with John Williams (1997) --$t47. Scoring with Synthesizers (1982) --$t48. Rock Movideo (1985) --$t49. How Rock Is Changing Hollywood's Tune (1989) --$t50. Danny Elfman: From Boingo to Batman (1990) --$t51. Selections from The Celluloid Jukebox: Interviews with Allison Anders, Alan Rudolph, Michael Mann, Isaac Julien, Wim Wenders, Bob Last, Penelope Spheeris, Ry Cooder, Quentin Tarantino, Cameron Crowe, and David Byrne (1995) --$t52. Composing with a Very Wide Palette: Howard Shore in Conversation (1999) --$t53. Hollywood Sound (2005) --$tIndex 330 $aCelluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music-Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore-and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert's introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students. 606 $aMotion picture music$bHistory and criticism 606 $aSymphony 610 $aaesthetics. 610 $aart history. 610 $aauteurs. 610 $acommercial pressure. 610 $adigital age. 610 $aearly sound films. 610 $aelmer bernstein. 610 $aerich korngold. 610 $afilm criticism. 610 $afilm history. 610 $afilm music. 610 $afilm studies. 610 $ahollywood scores. 610 $ahoward shore. 610 $ajerry goldsmith. 610 $amax steiner. 610 $amovie criticism. 610 $amovie studies. 610 $amusic and film. 610 $amusic for film. 610 $amusic history. 610 $amusic. 610 $apopular music. 610 $apostmodern film. 610 $aserialism. 610 $atechnological innovations. 610 $athe silent film. 610 $awritings. 615 0$aMotion picture music 615 0$aSymphony. 676 $a781.5/4209 702 $aHubbert$b Julie$4edt$4http://id.loc.gov/vocabulary/relators/edt 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910825955803321 996 $aCelluloid Symphonies$94042706 997 $aUNINA